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The Venetian painter known as Giorgione or “big George” died at a young age in the dreadful plague of 1510, possibly having painted fewer than twenty-five works. But many of these are among the most mysterious and alluring in the history of art. Paintings such as The Three Philosophers and The Tempest remain compellingly elusive, seeming to deny the viewer the possibility of interpreting their meaning. Tom Nichols argues that this visual elusiveness was essential to Giorgione’s sensual approach and that ambiguity is the defining quality of his art. Through detailed discussions of all Giorgione’s works, Nichols shows that by abandoning the more intellectual tendencies of much Renaissance art, Giorgione made the world and its meanings appear always more inscrutable.
The Venetian painter known as Giorgione or “big George” died at a young age in the dreadful plague of 1510, possibly having painted fewer than twenty-five works. But many of these are among the most mysterious and alluring in the history of art. Paintings such as The Three Philosophers and The Tempest remain compellingly elusive, seeming to deny the viewer the possibility of interpreting their meaning. Tom Nichols argues that this visual elusiveness was essential to Giorgione’s sensual approach and that ambiguity is the defining quality of his art. Through detailed discussions of all Giorgione’s works, Nichols shows that by abandoning the more intellectual tendencies of much Renaissance art, Giorgione made the world and its meanings appear always more inscrutable.
This book presents case studies of collectors, patrons, and agents whose activities redefined collecting and the art market during a period when the status of the artist, rise of connoisseurship, and patterns of consumption established new models for collecting and display.
The Tempest is Giorgione's most enigmatic painting. It is a depiction of Giorgione's own family, of the "family of man" tale from Boccaccio, or of the myth of Apollo's birth? In this remarkable study, Salvatore Settis uses the mystery of the painting to shed light on the relationship between artist, patron, work, and critic. The result is a brilliant piece of detective work in the history and sociology of culture that stresses the function of Giorgione's art for the emerging, classically educated connoisseur elite of sixteenth-century Venice.
Over the past twenty years or so it has finally been understood that Jacopo Tintoretto (1518/19-1594) is an old master of the very highest calibre, whose sharp visual intelligence and brilliant oil technique provides a match for any painter of any time. Based on papers given at a conference held at Keble College, Oxford, to mark the quincentenary of Tintoretto’s birth, this volume comprises ten new essays written by an international range of scholars that open many fresh perspectives on this remarkable Venetian painter. Reflecting current ‘hot spots’ in Tintoretto studies, and suggesting fruitful avenues for future research, chapters explore aspects of the artist’s professional and social identity; his graphic oeuvre and workshop practice; his secular and sacred works in their cultural context; and the emergent artistic personality of his painter-son Domenico. Building upon the opening-up of the Tintoretto phenomenon to less fixed or partial viewpoints in recent years, this volume reveals the great master’s painting practice as excitingly experimental, dynamic, open-ended, and original.
Offering particular insight into Filippino Lippi’s artistic problem-solving, an innovative look at the Renaissance master. The first focused study of Filippino Lippi in a generation, and the first in English in over eighty years, this book presents a new understanding of the Renaissance master-artist. Celebrated as “ingenious” by Vasari in 1550, Filippino was highly praised and influential, then fell out of favor and was forgotten for centuries. He was rediscovered by the poet Swinburne, who in 1868 celebrated the painter’s “inventive enjoyment and indefatigable fancy.” In a similar spirit, this volume explores Filippino’s creativity in solving artistic problems. If a Roman cardinal requested a classically inspired work or a Florentine humanist wanted to dazzle observers with his antiquarian interests, Filippino had the sensitivity to understand these diverse needs and express them with highly original solutions.
A revealing look at the commercial strategy and diverse output of this canonical Renaissance artist. In this vivid account, Ana Debenedetti reexamines the life and work of Renaissance artist Sandro Botticelli through a novel lens: his business acumen. Focusing on the organization of Botticelli’s workshop and the commercial strategies he devised to make his way in Florence’s very competitive art market, Debenedetti looks with fresh eyes at the remarkable career and output of this pivotal artist within the wider context of Florentine society and culture. Uniquely, Debenedetti evaluates Botticelli’s celebrated works, like The Birth of Venus, alongside less familiar forms such as tapestry and embroidery, showing the breadth of the artist’s oeuvre and his talent as a designer across media.
An exploration of the life and works of German artist Albrecht Dürer and his self-obsession. The Italian Renaissance birthed the modern sense of self, and no artist from the period compares with Albrecht Dürer (1471–1528) in terms of the almost obsessive interest he displayed in his own life. Dürer’s works are filled with personal details from his day-to-day, his dreams, and his escapades. In this brief biography, David Ekserdjian explores Dürer’s life and times—his studies, travels, and influences—as well as his paintings, drawings, and prints. This book is essential reading for anyone interested in Renaissance or Northern European art.
Peter Paul Rubens was the most inventive and prolific northern European artist of his age. This book discusses his life and work in relation to three interrelated themes: spirit, ingenuity, and genius. It argues that Rubens and his reception were pivotal in the transformation of early modern ingenuity into Romantic genius. Ranging across the artist’s entire career, it explores Rubens’s engagement with these themes in his art and life. Alexander Marr looks at Rubens’s forays into altarpiece painting in Italy as well as his collaborations with fellow artists in his hometown of Antwerp, and his complex relationship with the spirit of pleasure. It concludes with his late landscapes in connection to genius loci, the spirit of the place.
A critical biography of the early modern Italian naturalist. The Bolognese naturalist Ulisse Aldrovandi was a prolific writer, polymath, and prodigious collector who amassed the largest collection of naturalia in sixteenth-century Europe, as well as hundreds of colored drawings detailing them. Many of these drawings found their way into his illustrated publications, most of which were published posthumously. This book provides a concise yet comprehensive portrait of Aldrovandi, paying particular attention to two aspects: the role that the newly discovered continent of America played in his research interests, and his study of abnormalities of physiological development in organisms. Peter Mason gives insight into Aldrovandi’s fascinating life, his early work on antiquities, his natural history and other collecting activities, his network of correspondents and patrons, and the influence and legacy of his collection and publications.